Album review

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  • Krómantík

    Sóley’s latest outing, ‘Krómantík’, surprises. The EP departs from her usual pop-tinged songwriting, instead delivering a very short collection of ghostly piano music written for several art projects. It is in essence a multi-soundtrack album, and its title is an appropriate portmanteau that sandwiches together “chromatic” and “romantic.” All of the tracks on this sixteen-minute

  • To Them We Are Only Shadows

    ‘To Them We Are Only Shadows’ is the latest album from veteran Icelandic musicians Worm Is Green, a band celebrating its fourteenth year of operation. The group uses electronics and samples along with vocals, drum pads, and bass to create a blend of austere textures, often with trip-hop influences. On ‘Shadows’, we hear a wide

  • EP

    What Kvöl’s new EP lacks in musicality is made up for in character. The Reykjavík-based post-punk band, which counts noted “Salvation Soldier” Þórir Georg as a member, released their hazy four-song debut this past July. The album is dark and New Wave in aesthetic, constituted by programmed 808-style drumbeats; groggy, doubled guitar lines; and indistinct

  • Grúska

    From start to finish, Grúska Babúska’s wobbly, otherworldly self-titled debut is a pleasure to experience. There is something definitively narrative and theatrical about the ten-song collection, whose eclectic instrumentation includes flute, ukulele, guitar, synth, melodica, music box and a range of pitched percussion. The theatrical nature of the record derives from the constant starting, stopping,

  • BÖRN

    BÖRN’s self-titled début is what some of us have been desperately waiting for: an album that properly echoes the misery of living in Reykjavík. Unlike mediocre bands who sing their happy tunes in broken English—with heavy doses of repetitive claps and heys!—BÖRN manage to portray Reykjavík as it really is. It’s neither cute nor civilized;

  • Hugar

    I found myself six tracks into Hugar’s self-titled instrumental debut before realizing that the first song had ended. This could mean one of two things: either the lack of lyrical stimulation reaching my brain sent me into an inert mental state, or the neo-classical duo, consisting of producer-instrumentalists Bergur Þórisson and Pétur Jónsson, has achieved

  • 47

    Japanese Super Shift’s ’47’ is an unexpectedly emotional album. The record, which marks the newest creation from producer-instrumentalist Stefnir Gunnarsson, offers a healthy mix of dance-y instrumentals and mature, lyrical songs, representing a multifaceted album that feels as though it could fuel an entire evening, from the first drink to the sombre walkhome. The lyrics

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